A silver car crowds the left half of the square; a tall white passage holds the right. Crimson and orange marks break across the car’s front and run diagonally toward the lower edge. The curb divides roadway from sidewalk, but the red cuts across that order.
The work responds to a crash in which a driver fell asleep, drove onto the sidewalk, and fatally struck a 19-year-old woman. That breached boundary gives the split composition its weight. The open space beside the car holds the eye after the force of the diagonal.
For each data print, another documented crash acts on that painted language: direction, movement, and relationships between people and vehicles shape the composition. Freedman uses AI in the studio to develop these translations, then vets and selects the works. From roughly 1,200 images, only a few become physical prints. Each holds one event in view, asking for sustained attention to an individual loss within the city’s larger record.
The physical work
Color, surface, and an edition of one.
Printed edge-to-edge at 17 × 17 inches, each giclée uses Epson pigment inks on Hahnemühle German Etching paper. The textured matte surface carries brilliant color, subtle tonal shifts, and fine detail.
Presented in a black frame with a 13/16-inch face, a 2-inch white mat and a ¼-inch silver inner mat, under non-reflective acrylic. The mat covers ⅛ inch on each edge of the image.
Each image is a unique print, numbered 1/1. No second print of this specific image will be made.